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Date: 20.09.2017

El recurso de la memoria (2001)

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I figure a few interested people will read the long part, the rest may look at the pictures. In drawing as well as in other manifestations of graphics, in the course of my career I alternate between experimental periods and periods in which I consolidate the resulting practices and apply them to my production.

In the case of printed graphics, in the last decade the tendency towards experimentation has predominated.

I have practically abandoned the production of printing plates whose end result is an edition of prints, in favor of work with multiple end results, for example, varying the combination of plates, using a wide variety of backgrounds found material, Nepalese and Japanese papers, etc.

La mayor parte de esta obra forma parte de mis indagaciones en el campo del disfraz y la idea de proyectarse a uno mismo por medio de lo otro.

Espacio Memoria y Derechos Humanos

These changes in production practices were related to changes in the structuring of meaning of my work. Since , when I put together a show of object art involving a lot of graphics and called Everything from the Void, a quote from the Catechism in the university museum El Chopo in Mexico City, in my graphic work, elements like palimpsest, narrative, juxtaposition, deconstruction and reconstruction of images, and a greater interest in history and cultural manifestations began to predominate.

Most of this work forms part of my informal investigation in the field of disguise and costume and the idea of projecting oneself by means of otherness: As I understand it, my methods fall within what Hal Foster denominates photomontage refunctioning of an image or what the French-Mexican critic Olivier Debroise, referring to this practice in my work, considered a perversion or transgression of the original meaning of the photographs in which I base my drawings. Several years ago, reading the introduction of Emma Dexter to the bible of emerging artists, Vitamin D, I found the following commentary: The reserve therefore functions as a device to keep at bay the desire for obvious structure, composition and totality, the forces that painting is subject to.

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As a pencil moves about the paper, its path is local and confined, free from the need to consider its totality. I connect this alternative way of drawing with a practice that I have witnessed in my male children and grandchildren: In addition to this and in a different vein, one of my sons had the custom of apologizing to letters that he had to erase for their imperfections showing more compassion in peace than in war. And recently, in one of those routine occasions in which my second grandson kidnapped my computer, he introduced me to the site Pencilmation, where a conflictive relationship is developed between the drawn figure and the pencil which alternatively draws and attacks it, like a personal and vindictive god.

In coordinative thinking, conceptions are not subsumed under one another,, but placed side by side in a pattern, and things influence one another not by acts of mechanical causation but by a kind of inductance…symbolic correlations or correspondences all form part of one colossal pattern. Things behave in particular ways not necessarily because of prior actions or impulsions of other things, but because their position in the ever-moving cyclical universe is such that they are endowed with intrinsic natures which make that behavior inevitable for them.

If they do not behave in these particular ways they could lose their relational positions in the whole which made them what they are and turn into something other than themselves…they react upon one another not so much by mechanical impulsion o causation as by a kind of mysterious resonance. The following drawings are related with these themes: The drawing which follows revels, apparently, a lesbian relationship, but in reality was created with the displacement of the image of a woman photographed in sequence, from one photograph to another, that is, the image consists of one woman drawn twice.

Terrorismo de ETA: La batalla por la memoria | España | EL PAÍS

In coordinative thinking, conceptions are not subsumed under one another,, but places side by side in a pattern, and things influence one another not by acts of mechanical causation but by a kind of inductance…symbolic correlations or correspondences all form part of one colossal pattern.

When I count, there are only you and I together But when I look ahead up the white road There is always another one walking beside you Gliding wrapt in a brown mantle, hooded I do not know whether a man or a woman —But who is that on the other side of you? Who is the third who walks always beside you? With these ideas I have begun to put together sequences of images-- the results will be seen here-- but later.